• 한국방재학회:학술대회논문집
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• 한국방재학회 2011년도 정기 학술발표대회
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• pp.39-39
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• 2011

This study presents an effective vision-based system for cable bridge damage detection. In theory, cable bridges need to be inspected the outer as well as the inner part. Starting from August 2010, a new research project supported by Korea Ministry of Land, Transportation Maritime Affairs(MLTM) was initiated focusing on the damage detection of cable system. In this study, only the surface damage detection algorithm based on a vision-based system will be focused on, an overview of the vision-based cable damage detection is given in Fig. 1. Basically, the algorithm combines the image enhancement technique with principal component analysis(PCA) to detect damage on cable surfaces. In more detail, the input image from a camera is processed with image enhancement technique to improve image quality, and then it is projected into PCA sub-space. Finally, the Mahalanobis square distance is used for pattern recognition. The algorithm was verified through laboratory tests on three types of cable surface. The algorithm gave very good results, and the next step of this study is to implement the algorithm for real cable bridges.

• 한국지반공학회:학술대회논문집
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• 한국지반공학회 2008년도 추계 학술발표회
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• pp.1707-1711
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• 2008

Landing pier is connect from onshore to offshore with bridge type that a coast structure. The sub-structure is consisted of vertical or batter pile and combined reinforced concrete slab. These days useful design method of quay wall of landing pier type for pile foundation analysis abide by approximate depth of pile supported method, "Harbor and port design criterion, 2005 The ministry of land transport and maritime affairs". The approximate depth of pile supported is calculated two kind of method that one is assume to below depth of 1/$\beta$ from assumed submarine surface and other is 1st fixpoint depth by Chang(1937)'s theory. By this paper, FEM dynamic analysis of 3-dimensions was achieved that it has compared pile fixed end modeling with elastic spring modeling base on winkler theory.

• 건축역사연구
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• 제13권4호
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• pp.89-105
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• 2004

This paper investigates morphological theory as an intellectual framework for research and design. The first part of the paper will review morphological studies in the fields of urban geography, urban planning and architecture, particularly in England from the 1940s to the 1980s. While urban geographers and planners were concerned primarily with town plans, building forms and land use, architectural theoreticians were more interested in the topological relationship between urban and architectural space. The underlying premises and principles of these two approaches will be reviewed. The second part of the paper will focus on typology in Europe and North America. The reinterpretation of typology by Italian architects helped to bridge the gap between individual elements of architecture and the overall form of the city. However, typological theory became less accessible in post-war England and the United States. After 1980, the debate on typology became muted by the onset of vague notions such as functionalism, bio-technical determinism, and contextualism. This paper will propose a redefinition of morphology as a heuristic device, in contrast with the dichotomic view of urban morphology and architectural typology. Morphology will be shown to combine the geometrical and topological; the intentional and accidental; the real and abstract; and a priori and a posteriori. The last part of the paper discusses the lack of comparative theories and methods surrounding the physical form of architecture and the city by Korea commentators. Empirically rooted facility planning, non-comparative historical studies, and iconographic criticism emerged as a central preoccupation of architectural culture between the 1960s and 1980s, a time when international debate on architecture and urbanism was most intense. This paper will give consideration to the built environment as a dynamic physical entity and space as an epiphenomenon of daily urban life, such that collaboration between urban designers, architects, and landscape architects is seen as both beneficial and necessary.

• 대한지구과학교육학회지
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• 제17권1호
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• pp.20-33
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• 2024

이 연구의 목표는 지구과학의 혁명 과정으로 설명되는 20세기 베게너의 대륙이동을 정당화하는 과학자들의 과학 활동을 살펴보면서 새로운 과학 이론의 제안 전략과, 이론 선택의 과정이 어떻게 이루어지는지를 방법론적으로 분석하는데 있다. 베게너의 대륙 이동설 이전에는 지구는 정적인 지구모형으로 지각의 상하 운동만을 고려하였다. 하지만 대륙이동설은 지구의 동적 모형으로 지각의 수평운동을 제안하여, 수많은 문제들을 제거하였다. 따라서 이 연구는 현재의 판구조론이 형성되기까지 수많은 과학자들의 합리적인 활동을 탐색하고자 한다. 또한, 대륙이동설은 기존의 정적모형인 지구수축설과 충돌한다. 즉, 지구가 이미 완성되고, 고정되고, 불변하는 정적인 모델이 아닌, 지구가 생성되고 변화하는 역동적인 모델을 제시함으로써 기존의 기계론적 세계관에서 벗어난다. 이러한 결과, 옛 지질학은 약화되고 새로운 지구물리학이 탄생하게 되었다. 그리고 대륙이동설과 학문후속세대에 의한 지속적인 탐구는 지구과학의 혁명을 가져왔다. 이는 지구과학교육에서 학생들을 위한 다양한 방법론의 교육자료로서, 학생들의 세계관의 변화를 위한 교육 자료로서 좋은 탐구대상이라고 할 수 있다.

• 미술이론과 현장
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• 제15호
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• pp.7-30
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• 2013

This is a study on the ecological view of Robert Smithson's reclamation projects. Smithson was a pioneer of Earth art in the late 1960's. Robert Smithson believed that he could transform industrial wastelands, such as an abandoned oil rig and a no longer used quarry, into "Earth Art." In the early seventies, he conceived of land reclamation as a new art form and called this art "Reclamation Projects." His attention regarding industrial ruin started from the American political and social situations in the 1960's. In the late 1960's, American society was in chaos from the right of movement of African Americans, the women's rights movement and from the strike for renunciation of the Vietnam War. The intellectual class seemed to believe that it was the destiny of a closed system's society to run in the direction of entropy. Smithson, who was skeptical about the system of American society, also thought that entropy was the proper diagnosis to describe America's situation in the 1960's. The 1960's civic movements like the civil rights movement and antiwar movements expanded into the environmental movements based on ecological views of the 1970's. The government had also started to worry about environmental pollution. Thus, the reclamation act was also established in 1972. Smithson believed that the relation between art and social background are closely related and affect each other. He was concerned with how art can join society, and the result was reclamation projects. Such reclamation projects lie on man-made wastelands, like abandoned oil rigs and no longer used quarries, which was an allegory of entropy. He also thought that Frederick Law Olmsted was a pioneer of earth art. The aesthetic category of Olmsted's view of landscape is to be based on the picturesque of Uvedale Price and William Gilpin. So Smithson, who considered Olmsted as his touchstone, also accepted the picturesque. Such reclamation projects aim to change with nature by adapting the creative power of artists to the ruin which has the highest level of entropy in industrial society. Smithson wanted this to become the bridge between man and nature. His reclamation project's aim, which shows the system interacting between man and nature as a network, is not different from the ecological view of the 1970's environmental movement.